PSC1268

Lespace Entre Nous

NOEL ZAHLER NIKITA KOSHKINEDISON DENISOV LOWELL LIEBERMANN

GRO SANDVIK, FLUTESTEIN-ERIK OLSEN, GUITAR

Noel Zahler: 1 Lespace entre nous ..................................................................... 10:14

Nikita Koshkin: Oratorium Lacrimae.......... 25:352 Ave Maria..................................................................................... 02:523 Dies Irae ...................................................................................... 05:364 Offertorio........................................................................................ 02:445 Tuba Mirum ....................................................................................... 03:326 Credo ........................................................................................ 04:407 Gloria* .......................................................................................... 06:11

Edison Denisov: Sonata for flute and guitar.. 17:118 Dialogue ...................................................................................... 08:169 Notturno ..................................................................................... 04:1610 Serenade .................................................................................... 04:39

Lowell Liebermann: Sonata, Op. 25............. 12:4411 Nocturne .................................................................................... 08:2612 Allegro ........................................................................................ 04:18

Gro Sandvik, flute Stein-Erik Olsen, guitar *Trond Gjelsten Dale, bird twitter

0302

Lespace Entre Nous

Noel Zahler: 1 Lespace entre nous ..................................................................... 10:14

Nikita Koshkin: Oratorium Lacrimae.......... 25:352 Ave Maria..................................................................................... 02:523 Dies Irae ...................................................................................... 05:364 Offertorio........................................................................................ 02:445 Tuba Mirum ....................................................................................... 03:326 Credo ........................................................................................ 04:407 Gloria* .......................................................................................... 06:11

Edison Denisov: Sonata for flute and guitar.. 17:118 Dialogue ...................................................................................... 08:169 Notturno ..................................................................................... 04:1610 Serenade .................................................................................... 04:39

Lowell Liebermann: Sonata, Op. 25............. 12:4411 Nocturne .................................................................................... 08:2612 Allegro ........................................................................................ 04:18

Gro Sandvik, flute Stein-Erik Olsen, guitar *Trond Gjelsten Dale, bird twitter

0302

Lespace Entre Nous

The blend of flute and guitar is ideal for a sense of intimacy, tonal balance, and lyrical expressiveness. Yet the repertoire in such concerts has often consisted mainly of transcriptions, which are delightful but fail to cater for the full musical potential inherent in this form of chamber music. Contemporary composers are now responding to the challenge of providing original works exploring the full resources of this medium, uniting virtuosity with the complementary requisites of sensitive artistry. Moreover they are creating pieces of true imaginative depth and substance which incorporate modern techniques and structures. Thus composers from the USA and Russia present here distinctive approaches to the flute and guitar combination. Noel Zahler, Head of the Carnegie Mellon University School of Music, Pittsburgh, has written a variety of vocal and instrumental compositions. The recipient of many awards including a Fulbright/Hayes Fellowship to study in Italy, and a United States of America National Endowment for the Humanities Scholarship, Dr Zahler is also Vice President of the American Composers Alliance (a national organization founded by Aaron Copland and Roger Sessions in 1937), a member of the Board of Directors of the American Composers Forum and on the

Board of Trustees of the Manhattan Sinfonietta. The composer has provided the following introductory note:Lespace entre nous was commissioned for this recording by Gro Sandvik and Stein-Erik Olsen and is dedicated to them bothfor me it has proved to be a remarkable experience filled with the opportunity to explore a soundscape that can only be realized by the finest of performers. I thank the artists for their willingness to experiment and for the brilliant final performance presented here. Early on in the composing process Gro Sandvik wrote to me asking what I would name the composition. My reaction was one of surprise, I rarely name works until after Ive finished them and the imaginative process that brought the composition into its realization has given me a chance to reflect on the result. I wrestled with the request for several days and replied that I would, for the time being, call this composition Lespace entre nous (The Space Between Us). The title signified, for me, a number of important compositional considerations that would need to be weighed for these two very special instruments and performers.

LESPACE ENTRE NOUSby Graham Wade

0504

The blend of flute and guitar is ideal for a sense of intimacy, tonal balance, and lyrical expressiveness. Yet the repertoire in such concerts has often consisted mainly of transcriptions, which are delightful but fail to cater for the full musical potential inherent in this form of chamber music. Contemporary composers are now responding to the challenge of providing original works exploring the full resources of this medium, uniting virtuosity with the complementary requisites of sensitive artistry. Moreover they are creating pieces of true imaginative depth and substance which incorporate modern techniques and structures. Thus composers from the USA and Russia present here distinctive approaches to the flute and guitar combination. Noel Zahler, Head of the Carnegie Mellon University School of Music, Pittsburgh, has written a variety of vocal and instrumental compositions. The recipient of many awards including a Fulbright/Hayes Fellowship to study in Italy, and a United States of America National Endowment for the Humanities Scholarship, Dr Zahler is also Vice President of the American Composers Alliance (a national organization founded by Aaron Copland and Roger Sessions in 1937), a member of the Board of Directors of the American Composers Forum and on the

Board of Trustees of the Manhattan Sinfonietta. The composer has provided the following introductory note:Lespace entre nous was commissioned for this recording by Gro Sandvik and Stein-Erik Olsen and is dedicated to them bothfor me it has proved to be a remarkable experience filled with the opportunity to explore a soundscape that can only be realized by the finest of performers. I thank the artists for their willingness to experiment and for the brilliant final performance presented here. Early on in the composing process Gro Sandvik wrote to me asking what I would name the composition. My reaction was one of surprise, I rarely name works until after Ive finished them and the imaginative process that brought the composition into its realization has given me a chance to reflect on the result. I wrestled with the request for several days and replied that I would, for the time being, call this composition Lespace entre nous (The Space Between Us). The title signified, for me, a number of important compositional considerations that would need to be weighed for these two very special instruments and performers.

LESPACE ENTRE NOUSby Graham Wade

0504

Ave Maria begins with a poignant melody steadily increasing in intensity over a chord accompaniment. This leads to a fervent dance with occasional strummed chords and concludes with a positive Amen. Dies Irae, marked adagio, opens with dotted rhythms and an eight bar solo guitar introduction. After the flutes first entrance, the mood changes to a jauntily defiant dance. A further episode, piu mosso, introduces a theme with vigorous drive, accompanied by strummed chords, advancing to a coda both meditative and poignant. Offertorium presents a serene melody with much intricate embellishment. Tuba Mirum, in ternary form, begins with a manic waltz, contrasted against a central meno mosso section played with pizzicato accompaniment. The first statement recapitulates in brilliant mood. Credo at first provides an arpeggiated accompaniment to the thoughtful exclamations of the flute. But, defying expectation, the movement suddenly evolves into an eastern dance in six-eight time, with occasional bars of seven-eight and five-eight as extra rhythmic spice. Gloria is an extended work, starting with rapid guitar arpeggio patterns and the flute gently calling. Once more there is a touch of the orient climaxing in rapidly repeated tremolo notes on the guitar. A middle section changes the atmosphere with dramatic melodies over a dancing staccato accompaniment and many subtly varied syncopated effects. Finally Vivo in four-four time advances towards a stirring finale. We hear whistles and speaking voices

exclaiming Gloria, followed by a brilliant coda. Edi